...and as a bonus, a video appearance in the new
Moby video, "I Love To Move In
Here." Sukato is the "bass player" in "the band"....on stage with
Grandmaster Caz,
old-school rapper and co-writer of the classic "Rappers Delight"! (video
link, high-definition on Vimeo)

Here are three
duets with Ed Bernstein playing
djembe and cymbal. (Ed is the founder of
Share New York and did the
recording here.) Sukato is singing and playing plectrum violin.

Duet #1, very
fast

Real Audio:
Windows Media Player: (coming soon...)

Duet #2,
medium tempo, stately

Real Audio:
Windows Media Player: (coming soon...)

Duet #3, very
fast

Real Audio:
Windows Media Player: (coming soon...)

Ominous
B-flat drone

Sukato's new
composition on a B-flat drone was performed at
The Cave in LIC on September
7, 14, 21, and 28, October 12, 19, and 27, November 2 and 24, and December
3, 2004, January 4 and 11, and February 1 and 15, and numerous times
thereafter, in various versions, each time different than the
performance before.

On the September 14 performance, Sukato sang and
played plectrum-violin, accompanied by a prerecorded background. Low,
sumptuous
electronic drones were created by Kala
Pierson, over which Sukato multitracked and mixed additional string
parts.

Here is a
previously unreleased
work for solo plectrum-violin, recorded in 2003. It is a performance on a scale with the
octave divided up rather evenly into nine tones. As with much of Sukato's
music, it's somewhere between improvisation and fixed composition.

Improvisation on
a 9-tone scale

Real Audio:
Windows Media Player

Performances of "NOT"

Below are two
performances/versions of NOT, a solo dance work choreographed and danced
by Chris Ferris. One includes oboe (Eliza Slavet) while the other
doesn't. The music and dance are very much intertwined and
interdependent. While Chris, Eliza and I were working through the
piece, we decided to think of the music as a trio (all three of us) rather
than a duo (Eliza and me). There were places of silence where Chris
could "breathe" and let the sounds of her movement -- the aggressive,
jarring physical movement (i.e., stomping) -- become the music.
(Don't worry, you'll hear it in the audio!)

The work, both dance and music, thus has a claustrophobic feel to it and a
lot of angst.